‘Pacific Rim’ and ‘Grown Ups 2’ Feature the Work of Full Sail Alumni

We hope you’re caught up on this year’s summer movies, as two more big releases are hitting theaters today – the comedy sequel Grown Ups 2 and sci-fi disaster tale Pacific Rim. Two different films for two different audiences, and we’re excited to see that both projects feature the work of Full Sail graduates.

Grown Ups 2 follows the original 2010 hit, bringing back Saturday Night Live vets Adam Sandler, Chris Rock, and David Spade, along with Kevin James. Working on the film’s postproduction team was grad Devin Fairbairn (Computer Animation, 2007), who acted as visual effects producer. Devin previously held the same position on other major summer releases like The Lone Ranger and This Is the End.

Pacific Rim is the latest effort from director Guillermo Del Toro, who was responsible for the creative worlds of Pan’s Labyrinth and the Hellboy series. Early clips have showcased a similar visual spectacle, which included contributions from alumni Tasha Carlson (stereo depth artist; Computer Animation, 2011), Matthew E. Gill (stereo production assistant; Computer Animation, 2010), Lyndsey Pendley (stereoscopic paint artist; Computer Animation, 2010), Katherine Rodtsbrooks (stereoscopic conversion lead; Computer Animation, 2010), Frederick George Stuhrberg (3D scanning; Digital Media, 1996), and Eric Timm (stereoscopic artist; Film, 2010).

Many of these grads had the unique position of handling the film’s 2D to 3D (stereo) conversion, and we recently spoke with Tasha Carlson about her work as a stereo depth artist at Stereo D in Burbank, CA. This was Tasha’s second big project of the summer, following Star Trek: Into Darkness, and she gave us some insight on her contributions to these action blockbusters.

Full Sail: Both Pacific Rim and Star Trek have a lot going on visually, how challenging is the 3D conversion for projects of that scale?

Tasha Carlson: With each new film I work on there are always new challenges. Each client has a different style – their own particular way they want their film’s 3D to look. The most challenging thing is just getting the stereo to look as natural to the eye as it possibly can. If an image looks off or weird to the viewer’s eye, then the 3D won’t sell and will look cheap or gimmicky.

FS: What’s the most rewarding part of your work?

TC: My favorite part of working on films like these is that we get a chance to work with computer generated elements. Seeing the shots before and after the elements and the comp work is completed is really exciting. It’s inspiring to see how much talent and hard work goes into one single production.

FS: It’s been an exciting summer just for fans – what’s it like for you to have had a part in some of the season’s biggest movies?

TC: I’ve got to admit, I’m pretty pumped to have had the opportunity to work on such amazing productions.